PS 3531 



fl6i83 on'5 Miscellamovs Play: 



F3 
1904 



:.^ Face AT 

The Window 




T.S.Denison ^ Company Publishers Chicago 

Price, 30 Cents 



enison'sDfeyi 

Cover fhe'FiGld 



Hundreds of 
Titles i/n^ 
These Series 




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623 Jbufh Wabash Ave. Chicago 



THE FACE AT THE 
WINDOW 

A DRAMA IN THREE ACTS 



BY 

W. C. PARKER 

AUTHOR OF 

'^hose Dreadful Tivins," "A Black Heifer," "The Lonelyville Social 

Club," "Brother Josiah," "All a Mistake," etc. 




CHICAGO 

T. S. DENISON & COMPANY 

Publishers 

i: li c f 3 



THE FACE AT THE WINDOW. 



CAST OF CHARACTERS. 

Reginald Spofford One of New York's 40Q 

Chester La Grange ) 

alias . y Of Unsavory Reputation 

Second Story Bill J 

Mose Johnson Who Refuses to Work 

Henry Swartwood A Detective 

Vera Stanley Wronged, hut Forgiving 

Mrs. Spofford Mother of Reginald 

Lillian Stanhope Her Niece 

Dinah A Domestic 

A Number of Villagers, Etc 



Place — A Village Near New York. 

Time — The Present. 

Time of Playing — About Two Hours, 



Notice— Amateurs are free to produce this play, but the sole 
professional rights are reserved by the author, who may be ad- 
dressed in care of the Publisher. 



COPYRIGHT, 1904, BY T. S. DENISON. 



T- MADE IN U. S. A. 

rrsn$ferr»^ fvtm 



JUL -7 1932 



THE FACE AT THE WINDOW. 



COSTUMES. 

Reginald. — Suitable business suit. May change for Act 
III. if desired. 

Chester, Act I. — Rough, castaway, well worn suit, slouch 
hat, several days' growth of beard appearing on his face. 
Act II. Splendidly dressed in light traveling suit, etc. Act 
HI. Appearing to be on the verge of ''shabby genteel." 

MosE. — Rough castaway suit, change to old Salvation 
Army suit. Acts II. and III., suitable servant's livery. 

Henry. — Business suit, derby hat. 

Vera. — Acts I. and 11. , refined house gowns. Act IIL 
Walking dress with cape over shoulders. 

Mrs. Spofford. — Neat walking gowns. 

Lillian. — Neat walking gowns. 

Dinah. — Act I. Kitchen dress. Acts II. and IIL Neat 
servant's dresses. 

Villagers. — All kinds and classes. 



PROPERTIES. 

Act I. — Feather duster for Dinah. Dishes, etc., for table. 
Ribbons, laces, etc., on escritoire. Handkerchief for 
Chester. Sealed letter for Dinah. Table bell on table. 
Umbrella for Mose. Key in drawer and revolver for Vera. 

Act H. — ^Eyeglass for Mrs. S. Photograph for Vera. 
Locket and chain for Lillian. Burglar tools for Chester. 
Necklace in drawer. Knife for Chester. 

Act HL — Handcuffs for Henry. Card for Reginald,, 
Rain coat for Chester. Revolver for Chester. Revolver 
for Hknry. 



4 THE FACE AT THE WINDOW. 

SYNOPSIS FOR PROGRAM. 

Act I. — The unprotected homie. The rejected suitor. 
The plot to rob. The Salvation Army man. The letter. 
The secret of a life. The attempted robbery. The recog- 
nition. The fight against odds. Reginald to the rescue. 

Act II. — Continued persecution. The refusal. The re- 
formed burglar. The heiress. Plot and counter plot. The 
photograph. Reunited school girls. Courting under diffi- 
culties. The discovery. The robbery. The interrupted 
murder of the wrong party. 'The Face at the Window." 

Act III. — The lonely rocky pass. Raking up old occur- 
rences. Seeing things in a new light. The explanation. 
The slippery rocks. The clandestine meeting. The rejected 
proposal. The use of force. The battle on the rocks. The 
right wins. ''Free at last." 



SCENE. 



Acts I. and II. — Drawing room, home of Vera Stanley. 

Act III. — A Rocky Pass, Palisades of the Hudson. The 
rocks required may be produced by placing ground cloth 
over boxes of various sizes, with or without wood wings and 
set rocks. 



SCENE PLOT. 

ACTS I. AND II. 



LANDSCAPE BACKING 



Fancy Interior Flats Window 




o 



\ 



Door 



Table Chair O 

Arm ChairO 

Fire Place 



THE FACE AT THE WINDOW. 



ACT III. 



i 1 I I I I LANDSCAPE BACKING ! i i 1 1 1 

^ocks Rocks 



Wood Wings Wood Wings 



Wood Wings Wood Wings 



STAGE DIRECTIONS. 

R. means rig-ht of the stage; C, center; R. C, right cen- 
ter; L., left; R. D., right door; L. D., left door, etc.; lE., 
first entrance; U. E., upper entrance, etc.; D. E.., door in 
flat or scene running across the back of the stage; iG., first 
g-roove, etc. The actor is supposed to be facing the audience. 



LIGHT PLOT. 

Act I. — Lights on full. At cue "a hundred dollars" 
gradually lower, and turn on red light in grate and white 
light for moonlight effect in window. The white light may 
be produced by a lamp of any sort placed so that a strong re- 
flector will concentrate the light through the window with- 
out the lamp being seen by the audience. 

Act II. — Lights on full. At cue "your old playfellow.''^ 
change lights same as Act L 

Act in. — Lights on full throughout. 



MUSIC. 

In case there is any difficulty in finding suitable music for 
die play, a good selection of incidental music will be found 
in Denison's ''Descriptive Music Book," which may be ob- 
tained from the publisher for the price of $L50, postpaid. 



THE FACE AT THE WINDOW. 



ACT I. 



Scene. — Interior. Fancy Chamber. Practical windotv 
with cnriains, up C. Doors, R. 2 E., and L. 3 E. Fire- 
place, L. 2 E. Armchair and footstool in front of fire- 
place. Escritoire, up R. Table, dozvn C. Chairs, etc., 
to dress the stage. See Scene Plot for stage setting. 
Lively Music Until Curtain Up. 
Discovered, Dinah. 

Dinah (dusting). I can't git it fro ma ole hard head, 
jes' what am de matter wif de missus lately. I done specs 
she's gwine ter be a mighty sick pusson, ef she doan stop 
habin' dem yere nervous faintin' spells, an' sech like. Neb- 
ber did see nuffin' like it, nohow. Nebber did, fo suah. 

Enter Mose, door L. 3 E. 

MosE (sticking his head out cautiously) . Hush! 

Din. Who dar? 

Mo. (coming on). Me, Dinah. Don't you recomember 
you' little honey? 

Din. Go on, man, you ain't no honey ob mine. How 
many times I got ter tell you all not to come aroun' an' 
bother m.e wha I'se workin' ? Go on ! Get out, foa I done 
put you out ! 

Mo. Look, yah, Dinah, ef you only knowed how anxious 
I is to see you, you wouldn't talk dat way ter me. Jes 
think ob it ! I haint see'd you in mos' two weeks ! 

Din. Naw, an' I doan care ef I doan see you foa ten 
yeah's moah. You ain't nuffin but a common, low-down 
niggah, nohow! 

6 



THE FACE AT THE WINDOW. 7 

Mo. Doan you call me names woman ! 

Din. Doan you gib me no sass, man ! 

Mo. I doan gib you no sass. I'se talkin' sense, I is. 
Say, listen. Did you heah de news? 

Din. Wha' news? 

Mo. (aside). Curiosity am de bait wot catches a woman, 
ebery time. (To Din.) Why, I done heard dat Mrs. Spof- 
ford am goin' to make her son Reginald marry her niece, 
Lillian Stanhope. 

Din. Den his mammy'll git left, fer her son Reggy is 
jes' simply dead stuck on my missus. 

Mo. Yas, but you doan un'stan' dat Miss Stanhope is a 
mighty rich gal. 

Din. No moah dan you un'stan' dat Vera Stanley, my 
missus, am jes'* as dog-gone rich. Why, her diamonds 
alone am wort' a fortun'. 

Mo. Den what am she a doin', a libin' out yeah all alone ? 

Din. All alone? Look heah, man, doan you realize dat 
I am aroun'? Why, she's safe enough, an' so is her dia- 
monds, while I is watchin' ovah her, see? 

Mo. (laughing). Ho, ho, ho! You is a great protection, 
you is ! 

Din. Wha' dat? Wha' dat, you say? (Grabs Mose 
and shakes, punches, pounds, and kicks him until he is all 
broken up, then runs him off door, L. 3 £.) 

Enter Vera Stanley, followed by Reginald, door, R. 2 E. 

Vera. I wonder what has happened to ruffle Dinah's 
temper? She is generally so quiet. 

Reginald (laughing). Possibly this is her ''hoodoo" day. 
At any rate, I trust it is nothing more serious. But, really, 
Mrs. Stanley, it is foolhardiness in the extreme for you to 
expose yourself to the chance of personal injury by remain- 
ing essentially alone in an out-of-the-way place, like this. 

Ver. Possibly so. But it is the best I can do. 

Reg. Can't I persuade you to accept my mother's hos- 
pitality until 

Ver. (stopping him). No, no, Mr. Spofiford ; do not 
create hopes that can never be realized. Dreams that can 



8 THE FACE AT THE WINDOW. 

never come true. Consider the futility of such a thought, 
and dismiss it from, your mind. 

Plaintive music, pp. 

Reg. You will not even permit me to hope ? 

Ver. I have told you there has been a shadow cast upon 
my life, so deep that it's eradication is impossible. It is a 
cloud that obscures every possible ray of sunshine from my 
unhappy existence. 

Reg. Why not make me your confidant? I can un- 
doubtedly assist you 

Ver. Impossible. I dare not, even if I would. Pray 
do not insist. Outside help will be futile. There is no es- 
cape but death. 

Reg. Vera ! I beg of you 

Ver. {suppressing a desire to yield). No, no! We must 
not meet again ! I shall leave this place forever ! We have 
but one common duty, and that is to forget ! 

Reg. (seising her hand passionately). I never shall for- 
get you! 

Enter Mo., door L. 3 E. Conceals himisclf behind the cur- 
tains, and listens. 

Reg. If I cannot assist you, let me at least share your 
sorrow ! 

Ver. Any explanation I might offer would but emphasize 
the utter hopelessness of your suit. 

Reg. I cannot accept that as your final answer. I have 
fondly imagined that you cared for me — that in time you 
might 



Ver. For mercy's sake, I beg of you 



Reg. But why all this mystery? Can you so easily for- 
get the happy hours 

Ver. Can you not realize what a sacrifice this means tc 
me? 

Reg. But why 

Ver. I know what you would say, but alas, it cannor 
be ! There now, please go ! I will write you — in an hour 
you shall receive a letter explaining all. (Going, R.) 

Reg. (follozving her). Not good bye? 



THE FACE AT THE WINDOW. 9 

Ver. Yes — it must be — good bye forever! (Exit, door, 
R. 2 E.) 

Reg. Forever? She cannot mean it. She must have 
learned that my mother has insisted that I marry my cousin 
LilHan, and the mere suggestion of my union to another has 
offended her. Her pride has been wounded, that is all. I 
must explain to her that no amount of persuasion can lead 
me to forget my devotion to her. (Starts, R. Stops.) 
But, no^ — she is piqued now — I will wait until a more fa- 
vorable opportunity presents itself. Meanwhile, I will ap- 
prise my mother of my firm determination to wed Vera 
Stanley, or no one. (Exit, door L. 3 £.) 

' Stop music. 

Mo. (coming from behind curtains). Well, what d'ye 
think ob a young man goin' again the wishes ob his mother 
in dat way? De ole woman raise de debil ef she done 
knowed dat. I wonder what she'd give me ef I peached on 
de young feller, an' put her wise to what's goin' on ? 

Chester appears at zvindozv. 

Mo. One thing suah, I'se got ter make a raise ob some 
sort mighty quick, er dey'll be a famine in pork chops in de 
neighborhool ob my stomach. (Stealthily picks up a dish 
from the table and tries to conceal it in his clothes.) 

Chester opens zvindozv and enters cautiously. 

Chester (coining dozvn, aside). Some one here, eh? 
Well, I'll have to bluff him out. (To Mo.) I've caught you 
at it, eh ? ( Grabs him. ) 

Mo. (starting). Caught nuffin ! Can't yo see, I'se jes 
polishing up dis dish foah I fills it wid fruit? 

Ches. (astonished. Releases Mo.). What! Do my 
eyes deceive me? 

Mo. I done knows dat voice. I seen it afore. (Turns 
to Ches. Their eyes meet.) Well, ef it ain't "Second Story 
Bill," dressed up like a gent'man ! 

Ches. ''Nigger Mose!" The devil! How did you ever 
get here? 



10 THE FACE AT THE WINDOW- 

Mo. One night, when de guard wasn't lookin', I hid in 
a shoe-box. Nex' mawin' somebody very carelessly nailed 
down the cover an' I was shipped out'n de penitentiary to 
a shoe store, an' when a young feller opened dat box, an' I 
jumped out, he was so scared he fainted dead away, an 
afore anybody knowed what was de matter, I was clean 
out'n de "hoop-skirts" of de town. But how did you all git 
out'n de prison? 

Ches. (looking around cautinusly). Hush! I watched 
my chance — caught the keeper off his guard — brained him 
with a hammer — exchanged my prison suit for his clothes — 
walked out of the prison, and there you are! Simple as 
the nose on your face — when ycu know how. But what are 
you doing here ? Working ? 

Mo. Yes. Workin'! Same as you is — dis way — (picks 
handkerchief out of Chester's pocket). 

Ches. (grabbing handkerchief). Well, work somebody 
else, besides me. Who lives here? 

Mo. (half zvhispering). A young widow, with diamonds 
enough to buy the town, an' a roll of bills what'd choke a 
cow, ef you can only find out wha' she keeps 'em. 

Ches. Can't you find out? 

Mo. I was jes' try in' to, when you come along an' 
blocked me game. 

Ches. Very well. We can't both work the same biz at 
once. I'll go back outside. You stay in here, and as soon 
as you locate the swag, you can call me with the same old 
signal whistle we used in the penitentiary. Be sure the 
coast is clear before you call me, for I'm getting tired of 
taking lives, and would like to do this job, if possible, with- 
out shedding any blood. (Going, C.) Mind you, no 
treachery, now. You know how handy I am with the gun, 
if I have to be. (Exit, nindozv.) 

Mo. Well, his showin' up now is de best piece ob luck 
I'se had in a dog's-age. I was near losin' ma nerve to do dis 
job, but now dat "Second Story Bill" is yeah ter help me, I 
ain't scared ob nuffin, nohow. 

Din. (outside, L. 3 E.). Wha dat miserable, low-down 
•'Nigger Mose" ? 



THE FACE AT THE WINDOW. 11 

Mo. (shivering and shozving every evidence of being 
afraid). Dat is, I aint scared ob nuffin, 'ceptin' her. I done 
reckon she am de boss ob de whole *tater patch. 

Enter Din., door L. 3 E. 

Din. Here, you! Wat you standin' yah doln' nuffin 
foah? Come on, yeah, an' make youself useful. Take dis 
yeah letter down to de village foah de missus, an' mind you 
doan waste no time about it, nohow. (Hands letter to Mo.) 

Mo. (taking letter. Aside). It's de letter ''explainin' 
all." Dat's agwine ter cost somebody some money. 

Din. Well, why doan you go? 

Mo. What d'ye think I is — a messenger boy, ter be 
runnin' errands? 

Din. (making ready to chastise Mo.) Who yo' talkin' 
to? (Rolling tip her sleeves.) Who yo' talkin' to, eh? 
(Squaring off.) I'll show you who's de messenger boy! 
(Grabs Mo. and whirls him around.) Now git! See? 
Deliver dat letter, an' mind yo' be quick about it, an' dat's 
all dere am to it, see? (Grabs Mo, and tires him out bodily, 
door, L. 2) E.) Dat's de way to settle de "marriage ques- 
tion." No use wastin' words about it. Jes' let de ole man 
know you's de boss, an' dat am de reason why, because 

Enter Vera, door R. 2 E. 

Vera (laughing). Well, Dinah, what seems to be the 
matter ? 

Din. Oh, nuffin'. Jes' teachin' my ole man ter respect 
his superiors, dat's all. 

Ver. I'm afraid you have undertaken a hopeless task. 
Men are not inclined to be easily controlled. 

Din. Doan know nuffin' 'bout de "incline," but dat ole 
man'U mind what I has to say, er I'se gwine to puncture his 
ole cranium fer him, en' dat's all dere am to it. 

Ver. I am inclined to believe that women as a rule would 
be more happy, if a disposition such as yours were more 
prevalent. 

Din. Yas. I doan know wat you all's talkin' 'bout, but 
I'se sure it's right. You couldn't say nuffin' agin a man 



12 THE FACE AT THE WINDOW. 

what'd be wrong. (Suddenly remembering her cooking.) 
Well, I'll be dog-goned ef I aint left dat custard pie in de 
oven all dis time ! It'll be spiled as suah's you\- a foot high ! 
{Exit, hastily, door, L. t, E.) 

Plaintive music, pp. 

Ver. Poor Dinah imagines she has lots of trouble, but 
how little does she imagine the suffering I am obliged to 
undergo! How for years I have been compelled to keep a 
secret, that is slowly but surely wearing my once happy life 
down to a mere wretched existence! And just as I had 
nearly overcome the bitter struggle and was schooling my- 
self to bear with fortitude the galHng loneliness of my sol- 
itary life, now a new torture appears to complete my mis- 
ery! When I thought that every spark of womanly af- 
fection was securely buried in the oblivion of my unhappy 
past, then I awake from the serene contemplation of res- 
ignation to my fate, to find a new temptation gnawing away 
at my very heart-strings ! I am compelled to face the real- 
ization that I love and am loved! A thought that with 
others is ofttimes the crowning happiness of an uneventful 
life ! A harbinger of joy as welcome to them as the awaken- 
ing of a new dawn of all creation ! Yet to me there appears 
but another cloud to the misery that so completely en- 
shrouds my very soul ! Naught but an additional reason for 
burying the secret which has again become my constant 
thought ! Striking new terror to my overburdened heart ! 
(Suddenly stops. Rings table bell.) I must not allow my- 
self to become overpowered by these thoughts. 
Stop music. 

Enter Din., door, L. 3 E. 

Din. Heah I is, ma'am. 

Ver. Has my letter been delivered to Mr. Spofford ? 

Din. Yes, indeed, ma'am. 

Ver. Very well. A little fresh air may be of benefit to 
me. You may order up the carriage, and remember, I am 
at home to no one. (Exit, door, R. 2 E.) 

Din. Poah missus! I wonder wat she worrv 'bout all 



THE FACE AT THE WINDOW. 13 

de time? I bet if I had all her money, I wouldn't worry 
'bout nuffin'. 

Enter Mo., door L. 3 E., dressed in Salvation Army suit. 

Mo. {sings a line of ''Glory Hallelujah!"). 

Din. Now what you been up to? 

Mo. Dinah, I'se reformed. 'Deed I has. I'se j'ined de 
Salvation Army. 

Din. Salvation nuffin' ! You can't come no such game 
as dat on me. You'se been stealin' agin, dat's wat's de 
matter, an' all you could lay yer ban's on was dat coat an* 
cap an' umbrella. You better hurry up an' take 'em back 
foah you gits arrested agin. 

Mo. You's talkin' foolish, woman. I aint done nuffin' 
ter git arrested fer. You jes' wait till de Salvation Army 
comes around agin, an' see ef I aint a member. 

Din. Member nuffin' ! You couldn't convince me dat 
you'se reformed, not ef you stand dere an' swear on a stack 
of bibles as high as you head. Why, you low down, gor-d- 
fo'-nuffini' nigger scamp ! Dere ain't no moah salvation in 
you den dey is in a rotten egg. 

Mo. Say, where's you missus? 

Din. What you want wif my missus? 

Mo. I done got a answer fer her. 

Din. Gin it ter me. 

Mo. No, I was to deliver it to her pussonally. 

Din. Gin it ter me, I say ! 

Mo. Go on, woman. Doan you get me inter no trouble. 
I guess I knows wat I'se done told ter do. 

Din. Well, I'll call her, but you stay right here, an' mind 
yer keep yer ban's off'n things, d'ye hear? (Exit, door, 
R. 2 E.) 

Mo. (Looks around cautiously, then removes laces, rib- 
bons, etc., from table and escritoire and stuffs them into the 
umbrella, constantly on the watch, going to zvindozir, look- 
ing out, etc. Finally hears a noise, goes doivn L. Seat.f 
himself with the timbrel I a betzveen his legs.) 

Enter Ver. R. 2 E. 



14 THE FACE AT THE WINDOW. 

Ver. My servant tells me you have a message for me. 

Mo. Yas'm. 

A^ER. She said it was something in reference to the Sal- 
vation 

Mo. Yes'm. Your salvation. 

Ver. My salvation! What do you mean? 

Mo. (holding out letter). Does you remember dis yeah 
envelope ? 

Ver. My letter! Give it to me! 

Mo. Yes'm. {Putting it in his pocket.) But hov^ much 
is I goin' ter git fer givin' it ter yer? 

Ver. (surprised at his change of manner). What do you 
mean? 

Mo. Jes' wat I done tole yer. How much is you gwine 
ter pay fer it ? 

Ver. Give me that letter instantly, or I shall call for 
help. 

Mo. (jmnping betzveen her and door, R. 2 E.). None ob 
dat! Now, see here, lady, I doan mean no harm to yer. 
but I done knows all about wat's in dat letter, an' I done 
reckon it's worth about one hundred dollars to you, same 
as 'tis ter me. 

Ver. (angered). A hundred dollars? (Aside.) The 
secret of my life in such hands! (To Mo.) And if I re- 
fuse? (See light plot.) 

Mo. Den I specs I better be movin' on.. 

Hurry music, pp., till curtain. 

Ver. This is a shameful outrage, but since you persist 
in taking such an unfair advantage of me, I suppose I must 
submit. (Goes to escritoire. Takes a key and unlocks a 
draiuer. ) 

Mo. (aside). I wish she'd be quick afore ''Second Story 
Bill" comes. He'd kill me if he caught me workin' dis gag 
on de side. 

Ver. Bring me the letter, and you shall have your re- 
ward. 

Mo. (aside.) I was a fool not to ask her twice as m.uch. 
{To Ver.) Look-a-yere, missus, de market price done gone 



THE FACE AT THE WINDOW. 15 

up. Dat letter gwine ter cost yer jes' twice as much as — ■ 
{During this speech he goes up to Vek.) 

Ver. {Suddenly turns and shoves a revolver in his face). 
Give me that letter ! 

Mo. {starting back in alarm). Yas'm. I gib you de let- 
ter. Dat what I came fer. 

Ver. Quick! The letter! 

Mo. {trembling). Don't shoot! Don't shoot! {Busi- 
ness of trying to take letter from his pocket, but his hand 
trembles, so that he cannot do so.) 

Ches. appears at window, 

Ver. Hurry up! 

Mo. Don't shoot! {Trembling.) Don't shoot! 

Ches. {coming down, grabs revolver from Ver.). Allow 
me. {Lays revolver on escritoire.) 

Ver. {perceiving Ches., screams). 

Ches. {perceiving Ver.). Well! This is a surprise! 

Ver. What! You! Alive! 

Ches. Why not? Did you think and hope that, my 
days of usefulness being ended, I had departed for another 
sphere ? 

Ver. Go I Do you hear ? Go ! Do not dare to remain 
or I shall call for help. 

Ches. Why call for help when I am here? 

Ver. You? 

Ches. Oh, now, don't be unreasonable. My coming 
here was purely accidental, but now that I am here, let us 
forget the past and start life all over again. 

Ver. No, never again ! 

Ches. Now, Vera, don't be stubborn. {Advances toward 
her.) 

Ver. {recoiling). No, no, I say! 

Ches. {throzm his arms around Vera). 

Ver. {struggling). Let me go! Let me go, I say! 

Mo. Doan make so much noise! Youse'll hab de cops 
in yere de nex' t'ing yo' knows! {Going up.) 

Ches. {savagely). Come back. yc\3 Foolf Mind the 



16 THE FACE AT THE WINDOW 

door, and let no one in. (To Vera) Now, you keep quiet 
or I'll— 

Ver. (breaking from him). Help! Help! 

Enter Rta, through zvindow. 

Ver. Save me! Help! (Fails ai Reginald's feet) 

Reg. (snatches revolver from escritoire). 

Ches. (recoils, then recovers and starts toward Veeia). 

Reg. Another step and I fire! (Pointing revolver at 
Ches.) 

Ver. (arising.) No, no! For my sake, don't fire. 
(Springs in front of Reg.) 

Mo. No ! For all our sakes, don't fire. (Raises the um- 
brella as if to protect himself, and the laces, ribbons, etc., 
fall all over him.) 

Reg. (gently putting Yer. aside, advances tozvard Ches.)- 
What are you doing here? 

Ches. (pointing to Ver.). Perhaps the lady would pre- 
fer to answer. 

Ver. (bnries her face in her hands and sobs). 

Ches. No? Well, then, if she will not speak, I suppose 
I must! (Insolently.) I am here by the right of a hus- 
band! 

(Reg. stands thnudersfrnck. Ches. in triumph. V^er. zvith 
head bozvcd, cozuers zvith shame. Mo'. nearly faints from 
surprise.) 

Szvell music to if. 

QUICK CURTAIN. 



THE FACE AT THE WINDOW. 17 



ACT II. 

ScENE^ — Same as Act I. One year is supposed to have 
elapsed between Acts I. and II. 

Plaintive music at rise. 

Discovered, Ver. and Ches. 

Ver. Is this persecution never to cease? You promised 
never to bother me again, in consideration of the sum of 
money I gave you the last time we met. 

Ches. But that was a year ago. 

Ver. Just a year ago to-day. 

Ches. Many things have changed in that time. My 
good resokition was one of them. I should not have both- 
ered you if it were not necessary. It is imperative that I 
secure a large sum of money at once. 

Ver. The same old story. 

Ches. If you will furnish me the amount, I will promise 
that you shall never see me again. 

Ver. You forget that your promises can have no weight 
with me. And even if they did, I have no money to offer 
you. 

Ches. You can get it if you want to. 

Ver. Impossible ! And even so, why is it that I should 
be constantly expected to suffer from your misdoings ? Have 
you no shame at all? 

Ches. Why should I? 

Ver. No, it is evident that you have none. As I look 
back on your past life, I can see absolutely no evidence of 
any feeling whatsoever except an all absorbing selfishness, 
which has undoubtedly hastened your downfall. Do you 
realize what our family has done for you ? Do you remember 
how, when an orphan, you were taken in by my father and 
treated like a son? Do you remember that you repaid his 
kindness by robbing him of the affections of his only daugh- 
ter, whom you influenced to elope — ^ 



IS THE FACE AT THE WINDOW. 

Ghes. Yes, we were married secretly, afterward for- 
given, and as pater did not see fit to supply us with suffi- 
cient funds for our proper maintenance, it became necessary 
for me to devise other methods of obtaining money — 

Ver. Which proved to be but a revival of the vicious 
habits to which you had grown accustomed, and to conceal 
which you married me, merely as a blind to protect yourself. 

Ches. You are not at all complimentary to yourself. 

Ver. Then as a last resort you turned to forgery — 

Ches. That will do! I paid the penalty of that crime, 
and thus earned the right to forget it. At any rate, it has 
nothing to do with my present position. I repeat that I need 
money — I must have it, and you are in a position to help 
me. 

Ver. I say it is impossible ! 

Ches. You must ! 

Ver. I shall not! 

Ches. {seizing her). You will, or — 

Ver. (nrmly). Well? Or—? 

Ches. Take care how you taunt me! I am rapidly los- 
ing my patience ! 

Ver. I do not fear you. 

Ches. Well, by heaven, you shall ! I'll look up this fel- 
low Spofford and tell him all! 

Ver. You may do so if you like. I have neither seen 
nor communicated with Mr. Spofford since that unhappy 
day of a year ago, and the only deviation from my other- 
wise uninterrupted seclusion has been your unwelcome in- 
trusion of to-day, which I trust you will abbreviate as much 
as possible. {Exit, door R. 2 E.) 

Stop music. 

Ches. {astounded). Well! Am I dreaming? She de- 
fies me completely, but I must either persuade her to yield 
or resort to harsh methods ! That amount of money 
stands between me and a new life with one who has no 
knowledge of my past, one who will bring me the combined 
attractions of youth, beauty and fortune. I must see Vera 
again. She absolutely will have to raise that money for 
me, and that's all there is to it! {Rings table bell.) 



THE FACE AT THE WINDOW. 19 

Enter Mo.^ door L. 3 E. 

Mo. Did you ring, sah? 

Ches. Yes. I desire to see your mistress at once. 

Mo. Yaas, sah. What am de name, sah? 

Ches. Well, if it ain't "Nigger Mose," and asking me 
what my name it. That's a good joke. 

Mo. I ain't "Nigger Mose" no moah. T'se reformed, 
I is. Jes' plain ''Mose" now. 

Ches. Reformed, nothing! You'd crack a safe this min- 
ute, if you only had a chance. 

Mo. Doan talk to me 'bout "crackin' safes" an' sich like, 
man. I tell yo' I is reformed, an' doan hab nuffin' ter do 
wif any sich things, so go long an' doan talk dat way ter me. 
{Exit door R. 2 E.) 

Ches. Well ! The world must be coming to an end ! 
And to think of "Nigger Mose" coming the sanctimonious 
gag on me, after all the queer jobs we've worked together. 
I'd better hurry up and see Vera or the first thing I know 
I'll be reforming myself before I get that money. {Exit, 
door R. 2 E.) 

Enter Din.^ door L. 3 E., showing in Mrs. Spofford and 

Lillian. 

Din. Yaas'm. Too bad. Missus jes' gone out, but if 
you'll jes' hab a seat fer a few minutes, I done spec she'll 
be back by dat time. 

Mrs. Spofford. Very well. We will wait a few mo- 
ments. 

Din. T'ank ye, ma'am. I done send up de missus, jes' 
as soon as she come back. {Exit, door L. 3 E.) 

Lillian. Oh, I'm so glad I have found Vera at last. 
She always was a regular sister to me. Talk about ''good 
fellows !" She was certainly a "peach !" 

Mrs. S. a "peach?" Such slang expressions! And 
from an heiress ! Now, when I was a girl 

LiL. Yes, but you must remember that times have 
changed very materially since that epoch. 

Mrs. S. I am very much afraid they have, and for the 
worse. 



'i^ THE FACE AT THE WINDOW. 

LiL. Why, I won't be able to talk at all very soon, if 
you persist in "jumping on me" every time I open m}* 
mouth ! 

Mrs. S. "Jumping on you!" Worse and worse! 

LiL. Well, "calling me clown," then, if that suits you any 
better. Say, was cousin "Reggie" "dead gone" on Vera? 

Mrs. S. "Dead gone?" JMercy on us! 

LiL. Oh, well, 1 suppose I should say "deeply attached." 

Mrs. S. He was certainly madly enough in love to enter 
upon a perfect debauch of recklessness that nearly broke my 
heart. 

LiL. But dear Vera wasn't to blame for that. 

Mrs. S. It is true that I may have judged her rather 
harshly, but nevertheless she must have been in a certain 
degree responsible for his continued absence from home. 

LiL. Oh, he kept out of sight because I was around. 
You were trying to compel him to marry me — a happening 
which neither he nor I could "find on our maps." That is, 
"not so's you could hardly notice it." 

Mrs. S. You seem to forget that it is my duty to see 
that the finances of the family are suitably settled in the 
proper hands before I depart this life. 

LiL. Which is a long way off, yet. Anyhow, give things 
a chance and they will "swing into line" all right in time. 

Mrs. S. We had better be going. Mrs. Stanley mav 
call upon us to-morrow. 

LiL. Well, I expect to see her to-night, if I have to come 
back and "camp out." 

Enter Ches., door R. 2 E. 

Ches. (to LiL.). Why, Miss Stanhope, this is a most 
unexpected pleasure. (Aside.) I wonder what she is do- 
ing here? 

LiL. (Shaking hands with Ches.). I'm delighted to see 
you. (To Mrs. S.) Aunty, have you forgotten Mr. La 
Grange ? 

Mrs. S- (coldly surveying Ches. through her eyeglass). 
Oh, yes, Mr. La Grange, I believe, was the gentleman who 
tuned the piano so nicely. 



THE FACE AT THE WINDOW. 2i 

LiL. (disgustedly). "Tuned the piano?" Why, he saved 
my Hfe by carrying nie down the ladder when the hotel was 
on fire. 

Mrs. S. Oh, yes. That was the time your diamonds were 
stolen, and the police insisted it must have been done by 
somebody who was accustomed to climbing up to the second 
story. I think they designated him as "Second-story Wil- 
liam," or something of that sort. 

Ches. (aside). She is closer to the truth than she thinks 
for. 

LiL. You must be sure to call upon us, Mr. La Grange. 
Aunty will be so pleased, I'm sure. Won't you. Aunty? 
(Mrs. S. looks bored.) I shall expect you soon. Now, don't 
forget. 

Mrs. S. Really, you must ask Mr. Strange (Ltl. smiles 
at Ches.) to excuse you. (To Ches.) You may tell Mrs. 
Stanley that we called. (Exit grandly, door L. 3 £.) 

Ches. (aside). She evidently takes me for a servant. 

LiL. (to Ches.) Don't mind Aunty. She means all 
right. Call to-morrow if you can. You have the address 
Till then, au revoir. (Exit, door L. 3 E.) 

Enter Din., door R. 2 E. 

Din. Mrs. Stanley hab returned and will be here right 
away quick. 

Ches. The ladies have gone. (Aside.) I must see to it 
that Lillian and Vera do not meet, or it will be all ofif with 
me. I wonder what cursed fate brought them together. 
Well, I have removed obstacles from my path before now, 

and if Vera Stanley comes between me and that girl. Til 

(Perceives that Din. has not gone.) I thought I told you 
the ladies had gone. 

Din. So yo' did, sure 'nuff. 

Ches. (aside, shrugging his shoulders) . I forgot that I 
had no place here, even though I am the lady's husband. 
Curse her ! She shall give me that money, or I'll (Per- 
ceives Din. still watching him, surveys her in a disgusted 
manner, and exit, door L. 3 £.) 

Din. I wondah what he standin' 'roun' heah mumblin' to 



22 THE FACE AT THE WINDOW. 

hisse'f *bout ? He may be all right, but I'se gwine ter keep 
my eye peeled on him, jes' the same. {Exit, door L. ^ E.) 

Enter Vera and Henry Svvartwood^ door R. 2 E. 

Henry. You say that your husband is at present in the 
house ? 

Ver. He was here when I left. But I rather you would 
spare my feelings sufficiently not to remind me of my mar- 
riage to the gentleman. 

Hen. Oh, I see. {Aside.) There is something strange 
about this case. {To Ver.) But you say he persists in an- 
noying you ? 

Ver. Only at long intervals, when he runs out of money. 

Hen. Oh, I see ; the cashbox is the attraction. 

Ver. Exactly. But there is a limit to all things. I have 
supplied him with funds until I realize that such a thing is 
no longer possible, and I wish him to keep away from me. 

Hen. Quite natural. 

Ver. I wish him no harm — he is guilty of no especial 
wrongdoing. I just do not want to meet him again, that is 
all. 

Hen. All of which is quite right. But you must remem- 
ber that no matter how clear your case may be, yet the police 
are powerless to protect you unless you can enter some spe- 
cific charge against him. Some crime, or misdemeanor — 
then I can arrest him. 

Ver. But I have already explained 

Hen. Yes, I know. But the object of the police depart- 
ment is to prevent crime, and it cannot deviate fromi its 
course for the purpose of investigating family squabbles. 

Ver. Then I can secure no redress whatever? 

Hen. You can bring suit against him in the civil courts. 

Ver. But look at the notoriety 

Hen. That's what people get for not being more careful 
about whom they marry. 

Ver. And I had hoped for deliverance from his in- 
trigues ! 

Hen. {aside). Intrigues, eh? (To Ver.) Well, I'll do 
all I can to help you. Have you got a photograph of th^f 
gent ? 



THE FACE AT THE WINDOW. 23 

Ver. I have one taken some years ago. 

Hen. Well, that'll help some. 

Ver. I will get it at once. Take a seat, won't you? 1 
shan't be a moment. (Exit, door R. 2 E.) 

Hen. There's something she's keeping back about that 
husband of hers. If he ain't a crook, why, I'll eat my hat. 
(Looks the room over carefully, and sits, facing door R.) 

Enter Ches.^ door L. 3 E. 

Ches. (coming dozvn, perceives Hen.) I beg your par- 
don I did not know any one was here. 

Hen. That's all right. Take a sit-down. The lady'll be 
back directly. (Aside.) I wonder if he's the ''duck" that 
causes all the trouble ? 

Ches. (aside). I wonder who he is? (Walks about 
L., humming or whistling to himself.) 

Hen. (sidng up Ches.) (Aside.) Height, five foot- 
eight (These items of identiUcation should be made to con- 
form with the party playing the part of Ches.), brown hair, 
brown eyes, weight about — hum — seems to me I've seen that 
guy before. 

Ches. (aside). He's got his lamps turned on me full 
strength. He makes me nervous. We may have met before. 
Anyhow, I guess I'll blow. (To Hen. in a drazvlingtone.) 
Mrs. Stanley must have forgotten her appointment with me. 
I shall have to go or miss a very important engagement. 

Hen. Any word you want to leave ? 

Ches. Oh, no; it's nothing important, anyhow. (Aside.) 
Curse him for coming here at this time ! (Exit, carelessly, 
door L. 2, E.) 

Hen. Where have I seen him before? (Reflecting.) 
Ah, I have it! He looks just like a chap we used to call 
"Second-story Bill." He disappeared for a couple of years, 
and— come to think of it, there's a large reward offered for 
his capture, by the warden of Sing Sing ! By George ! This 
is getting interesting ! I wish she'd hurry up. I don't want 
to lose sight of him. Two thousand dollars isn't to be picked 
up every day! 



24 THE FACE AT THE WINDOW. 

Enter Ver.^ door R. 2 E. 

Ver. {handing photo to Hen.) Here is the picture, sir. 

Hen. {taking photo). Hum — nice looking chap — too bad 
you couldn't get along nicely together. {Aside.) It's a pic- 
ture of the fellow that was just here, and he's ''Second-story 
Bill" just as sure as I'm alive ! 

Ver. Did you ever meet him? 

Hen. No, lady, not as I knows of — but I'd like to. 
{Aside.) I'll take this picture and compare it with the one 
at police headquarters, and if it is him, I'll start out on a 
"hot-foot" for fair until I get him in my clutches. 

Ver. Will the photo be of any assistance to you? 

Hen. Yes, lady; I'll just take it along. Then if I sees a 
fellow what looks like this a-hanging around here, I can 
come and drive him away. Sort of shake my apron at him 
and say ''Shoo!" you know. Good-day, lady. I'll see you 
again in a day or so, and meanwhile, if he bothers you any 
more, you just send for me, and don't forget to keep him 
here until I come. I'll give him a good talking to, and may 
be able to influence him to stay away from here, {aside) 
especially if I gets the handcuffs on him. (To Ver.) Good- 
day, lady. {Exit door L. t, E.) 

Plaintive music, pp. 

Ver. {to Hen.) Good day, sir. {Aside.) I wonder what 
will be the outcome of all this ? Little do you realize, Ches- 
ter La Grange, how hard I have struggled to save you from 
the grim embrace of the prison walls, and heaven only knows 
how much longer I shall be able to protect you, before the 
law takes you into its own hands, and metes out to you the 
punishment which you so richly deserve ! Oh, if it were only 
all over ! {Half falls into chair, L. ) 

Enter Lil., door L. 3 E. 

LiL. {placing her hands over Vera's eyes). Guess v\rho 
\t is. 

Ver. Dinah, is that you ? 
LiL. No ; guess again. 
Ver. I'm afraid I cannot. 



THE FACE AT THE WINDOW. 25 

LiL. Well, you're a nice one not to remember your old 
playfellow. (Kisses Ver.) Now, do you remember me? 
(See light plot.) 

Stop music. 

Ver. Why, Lillian, this is indeed a surprise ! 

LiL. Yes ; mighty little you care. Why didn't you let me 
know you were here ? Why, I never should have found you 
if it were not for Aunty. 

Ver. Aunty ? 

LiL. Sure. My Aunty is Mrs. Spofford, "Reggie's" 
jnother. 

Ver. His mother? (Turns away as if to hide her emo- 
tion.) 

LiL. There! Don't mind me. I know all about it. It 
certainly made a hit with me, when I found out that you 
were a widow. Why, it seems only yesterday that we were 
at school together. It's perfectly dreadful. that he should 
have died so young. 

Ver. (aside). Died? She cannot know! 

LiL. Vera, what do you think? I'm caught, too. 

Ver. What do you mean? 

LiL. Why, in love, you goose ! And what do you think ? 
We both simply adore each other, and it's no marriage for 
money, nor anything of that sort, either. 

Ver, (endeavoring to conceal her emotion). You will 
marry Reginald, of course? 

LiL. Of course not! Why, I don't see how you can even 
suggest such a thing! You never would even believe that 
we were cousins if you could see how indifferent we are to 
each other. Why, the very idea! And *'Reggy" just dying 
of love for you ! Why, do you know that Aunty called here 
with me to-day? And she has no objections to "Reggy" 
marrying you, if he'll only come back home and become 
reconciled to his fond mamma, and you're going to get mar- 
ried, and I'm going to get married, and we'll have a double 
wedding, and (Ver. starts.) Why, what is the matter? 

Ver. Please stop. You do not know what you are say- 
ing. Reginald and I can never marry ! 

LiL. Oh, don't say that ! If you only knew how much 



26 THE FACE AT THE WINDOW. 

you are to him ! Think of the reckless dissipation which has 
so completely overcome him since you cut him off ! I'm 
sure he would be just as good as could be if vou would only 
have him. 

Ver. Lillian! I beg of you to drop the subject! Every 
word you say is perfect torture to me ! 

LiL. Of course, if you don't care for him, that settles 
it ; but I am really awfully sorry for poor "Reggy." 

Ver. {deftly changing the subject). You have not told 
me about your own love affair. When and how did it all 
happen ? 

LiL. {laughing). It sounds quite like a paper-back 
thriller — or rather, a sensational melodrama. Scene, a 
hotel at Long Branch — ^young maiden asleep in her room — 
that's me. Sudden alarm of fire — smoke — flames, etc. Maid- 
en awakens — rushes to window and screams — no response — > 
screams again — ladder appears at window — gallant hero 
ascends ladder — frightened maiden falls into his arms, and 
is borne to safety amid the enthusiastic cheers of the crowd 
below. 

Ver. And the young maiden promptly fell in love with 
her "hero," who was at once accepted as a suitor for her 
hand. 

LiL. Well, I should say not ! No such luck ! The young 
maiden was immediately snatched away by an over-zealous 
guardian of an Aunty, and put to bed in another room, 
while the "hero'* was extended thanks in the shape of a 
reprimand for daring to hold me in his arms, although 
Aunty had some excuse for being cross, for during the ex- 
citement my diamonds were stolen from my room. 

Ver. Undoubtedly the fire was originally started by the 
thief as an excuse for robbery. 

LiL. Yes. They say it was done by a fellow called 
"Second Story Johnny," or something of that sort. 

Ver. {starting at the name — recovers her composure). 
But did you not meet your "hero" again? 

LiL. Sure. I met him the next morning on the veranda, and 
—and — well, he suggested the idea our going to fires togeth- 
er for the rest of our lives, and all that sort of thing, you 



THE FACE AT THE WINDOW. 27 

know, and, of course, 1 wished there would be another fire 
that night, so he could rescue me again, and he popped the 
question, and I said "Yes," of course, and just then Aunty 
came up, and that was about all. 

Ver. And did your aunt favor your engagement? 

LiL. Well, I hope you don't think I was fool enough to 
tell her ! She doesn't know anything about it. 

Ver. Why, you don't mean to say that you are deceiving 
her? 

LiL. Well, you see, I didn't know just how to go about 
it. You know, he is of a good family, "poor but proud," and, 
of course, there's going to be a kick when Aunty finds out 
about the "poor" part of it, so I thought that if you could 
only tell her for me 

Ver. No, no ! I couldn't tell her. 

LiL. Why, you know you could, just as easy as not. 
Pshaw ! What is it to tell an aunt that her niece is going 
to marry a hero? Come, now, be a good fellow. 

Ver. No ; I shall not even meet your aunt. 

LiL. Very well. I'll elope, and not let her know any- 
thing about it, until we are married and settled down. 
Plaintive music j pp. 

Ver. Lillian, dear, you must not do anything of the sort. 
If you only knew how many there are who in the inex- 
perience of youth have been influenced to set aside the ad- 
vice of those older than themselves, and to reject the love 
and affection of parents and friends for the sake of a mere 
passing thought from a heartless adventurer — who have 
awakened too late to the dread realities of their position, 
only to find themselves doomed to a life of misery and 
despair. 

LiL. Oh, Vera, do not suggest such thoughts of him. 
Look at his portrait — see how noble he is, and then admit 
the wrong you have done him. {Removes locket from chain 
and hands to Ver.) 

Ver. {taking locket). One cannot judge nobility from 
the face. It rnust be a happy combination of every word, 
look and deed. {Moves R, so as to hold locket in the lighi 
from the grate.) 



28 THE FACE AT THE WINDOW. 

LiL. If you only knew how good he is. 

Ver. (zvith her back to Lil., looks at locket and screams). 
{Aside.) My husband! {Drops locket.) 

Lil. {picking up locket). What is the matter? 

Ver. Nothing; only a pain here! {Places her hand on 
her heart and falls into a chair.) 

Lil. Shall I ring for the servant? 

Ver. No, no ! I shall be all right directly. I'll lie down 
for a few moments. {Rises slozvly and starts for door R. 
Nearly falls.) 

Lil. {catches her and assists her to exit, door R. 2 E. 
Returning and looking off, door R.) There, dear, rest 
awhile. I'll make myself at home until you are feeling bet- 
ter. {Removes her hat and places it on escritoire. Rear- 
ranges her hair in front of mirror. Examines various arti- 
cles on escritoire and table. Looks out door R.) Are you 
feeling better, dear ? Why, she's fallen asleep ! Poor, dear 
girl ! Something has occurred to make her very unhappy I 
Perhaps she thinks more of ''Reggie" than she is willing to 
admit. I bet she wouldn't be unhappy if she was engaged 
to as nice a fellow as I am. {Sits in large armchair, in front 
of grate.) I wonder if Vera got a good look at his picture. 
{Looking at portrait in locket.) Dear boy! I hope I shall 
see him to-morrow. {Looks steadily at portrait, kisses it, 
etc. Gradually falls asleep.) 

Change music to tremolo, pp. Swell at curtain. 

Ready, Ches. at unndo7,v C. 

Ches. {after a pause, pushes back the curtains, looks into 
the room carefully to see if the coast is clear, slozvly enters 
and pauses). She is asleep. Now is my chance to get the 
money and rid myself of her forever! {Goes to escritoire 
and cautiously opens the drazvers and examines contents. 
Finds one locked and pries it open. Takes out necklace and 
holds it up.) Ah! now we are getting at it. (Lil. moves 
uneasily in the chair. Ches. starts, drops the necklace, and 
drazi's a knife from- his coat.) She is waking up, eh? Well, 
we'll soon fix that! {Stealthily tiptoes behind Lil.) 



THE FACE AT THE WINDOW. 29 

Enter Ver., door R. 2 E. 

Ver. {perceives Ches. and follows him zmth quick, noise- 
less steps, and just as he is about to strike Lil. with the 
knife, she grasps^ his wrist. Ches. turns in alarm, drops the 
knife and looks in amazement from Ver. to Lil. The noise 
of the knife dropping partially azmkens Lil., who turns as 
if disturbed, disclosing her face to Ches., zvho drazvs back 
in horror. V^er. points to zvindozv as if commanding Ches. 
to exit, and he is so affected by the possibility of his having 
killed Lil. that he gradually obeys her, and slozviy backs up 
C. and starts to exit through the zvindozv. Ver. retains her 
commanding pose. Lil. sleeps soundly. Ches. at zvindozv^ 
about to exit. Picture.) 

QUICK CURTAIN. 



ACT III. 



Scene — A Rocky Pass. Palisades of the Hudson. Land- 
scape backing. Huge set rocks or rock zvings, up back. 
Wood zvings, R. and L. See Scene Plot for stage settings. 
Lively music until curtain up. 

Enter Hen. and Mo., R. 2 E. 

Hen. Now, there's no use of your trying to back out of 
this deal. You've got to help me land "Second Story Bill" 
behind the bars, and that's all there is to it. 

Mo. (shaking zvith fear). But, Marse Swartwood, Bill 
is a desp'ate character. He done knowed I'se reformed, an' 
when he see me he done gwine ter shoot me, suah's you 
born. He alius did shoot fust an' ask his questions after- 
wards. 

Hen. Oh, bosh I There ain't anybody goin' to shoot 
you, if you do as I tell you. In fact, he'll be so taken by 
surprise, I reckon there won't })e no shootin' done at all. 

Mo. {blubbering). Oh, please, Marse Swartwood, I done 



30 THE FACE AT THE WINDOW. 

want ter go home ! Dinah'U skin me alive when she find out 
I done gone out yere without fust askin' her. 

Hen. You seem to forget that you are wanted back in 
the penitentiary, where there is a good, long, unfinished term 
waitin' for you. 

Mo. Oh, Lawd ! Don't say nuffin' 'bout dat ! 

Hen. They'd shoot you in a minute, if they couldn't get 
you alive 

Mo. Oh, Lawdy ! Lawdy ! Please don't tell nobody who 
I is! 

Hen. Then stop your cussed blubbering, and do all you 
can to help me, and nobody'll be the wiser ; but if you fail 
mie or get the least bit treacherous, I'll land you back in 
prison, if it's the last thing I ever do. 

Mo. I do it, Marse, I do it! Only don't say nuffin 
moah 'bout dat prison business. Doan tell nobody who I is I 
Please, Marse ! 

Hen. Now, when was the last time you saw "Second 
Story Bill"? 

Mo. Yisterday afternoon, when he call to see de missus. 

Hen. Just before I recognized you, eh? 

Mo. Yes, Marse Swartwood; I recomember. 

Hen. (taking a pair of handcuifs from his pocket and 
showing them to Mo.). Do you know what these are? 

Mo. (terrified). Oh, Lawdy! Lawdy! Take 'em away! 
Take 'em away ! 

Hen. They're to go on our friend Bill, but if you don't 
mind just what I say, they'll go on you instead. 

Mo. Oh, Marse Swartwood, I do it ! 'Deed I w^ill ! 

Hen. Hush ! Here comes somebody ! Get out there 
behind a tree, and don't let anybody see you. And, mind 
you, stay there until I call you. (Shoves Mo. off L. 2 E.) 
I wonder who this fellow is? I hope he won't stay around 
here long enough to interfere with my plans. 

Enter Reg., R. 2 E. 

Reg. (fo Hen.). Pardon me, sir; but am I addressing 
Mr. La Grange? 



THE FACE AT THE WINDOW. 31 

Hen. (aside). Aha! I wonder what his game is? (To 
Reg.) What do you want with La Grange? 

Reg. I fail to see of what interest that can be to you^ 
unless you are Mr. La Grange. 

Hen. It is of more interest than you think for. But 
first of all, let me inquire your name. 

Reg. (stiffly). I have the honor to be the young lady's 
cousin. 

Hen. (aside). So there is a woman in the case, eh? (To 
Reg. ) What young lady ? 

Reg. Say, who are you, anyway? 

Hen. You'll find out soon enough. All that's neces- 
sary fer me to say now is that I am on to this little game 
with both feet. 

Reg. Game? What do you mean? 

Hen. (eyeing Reg. sharply). Do you mean to say that 
you don't know? 

Reg. No ; I must confess that I do not. 

Hen. Oh, come, now ; you may as well own up. He's 
6ure to be caught, anyway. 

Reg. Caught? Who is going to be caught, and what 
for? 

Hen. (aside). This guy is either very slick with the 
"sanctimonious" gag, or else very innocent. 

Reg. Well, since you prefer not to explain your mys- 
terious allusions, and, in fact, seem to regard me with some 
suspicion, for some reason quite unknown to me, permit 
me to introduce myself, with the hope that my position in 
life may be a sufficient guarantee that I am in no way con- 
nected with any affair you may have reference to, that is in 
any degree of a questionable nature. (Hands his card to 
Hen.) 

Hen. (taking card, reads). Reginald Spofford? Why, 
You're just the chap I was anxious to meet ! And to think 
I was fool enoug:h to connect you with such an affair as 
this ! 

Reg. Now that you seem confident as to whom you are 
addressing, I trust that you will 'honor me with an explana- 
tion of the ''affair" to which you allude. 



32 THE FACE AT THE WINDOW. 

Hen. (con/identiaUy). Hush! I am Swartwood, of the 
Central Office. 

Reg. Then, as I naturally inferred, you are a detective? 

Hen. Exactly. You are acquainted with Mrs. Stanley? 

Reg. (starting). Yes; but what has that to do with you? 

Hen. Nothing, much. Only I found that out shortly 
after I undertook the job, and naturally inferred that you 
were very much interested in her welfare. 

Reg. (anxiously). Tell me, has anything happened? 

Hen. No; but I expect a great deal to happen very 
shortly. 

Reg. Do not hesitate to tell me all. I may be of some 
assistance to you. 

Hen. Did you ever hear of a fellow called "Second 
Story Bill?" 

Reg. No; I must say that I did not. 

Hen. Well, he is her husband. 

Reg. Whose husband? 

Hen. Why, Mrs. Stanley's, of course. 

Reg. Well ! And how did he ever come by such a nam^ 
^s that ? 

Hen. Huh ! Ain't you on ? 

Reg. No ; I must say that I am not. 

Hen. Why, a ''second-story man" is a fellow who 
makes a specialty of breaking in houses by w^ay of the sec- 
ond-story windows. 

Reg. I begin to understand you. You mean to say that 
Mrs. Stanley's husband is a thief? 

Hen. Yes, who's wanted at a dozen different places, 
more especially at the prison which he escaped from about 
a year ago. 

Reg. (aside). That explains Vera's dreaded secret. 

Hen. But I don't think she knows it. She merely ac- 
cused him of annoying her by his constant demands for 
money. She didn't say nothing about his criminal career. 

Reg. (aside). For some reason Vera is trying to shield 
him. 

Hen. Who Is the lady you mentioned as being your 
cousin? 



THE FACE AT THE WINDOW. 33 

Reg. Lillian Stanhope. 

Hen. Oh, yes ! She called upon Mrs. Stanley yesterday 
•in company with your mother. 

Reg. Yes. 

Hen. What has she to do with La Grange? 

Reg. She expects to marry him, that's all. 

Hen. What ! 

Reg. Fearing my mother's objection to the match, she 
consented to meet him at this place, but changed her mind 
and desired me to request him to come directly to the house. 

Hen. Well, this is the limit ! Say, do you know who 
this La Grange is ? 

Reg. No; I never had the pleasure of meeting him. 

Hen. Well, he and ''Second Story Bill" are one and the 
same person. 

Reg. (amazed). What? 

Hen. Yesterday when Mrs. Stanley asked me to help rid 
her of his annoyances, I asked her to show me his photo. 1 
at once recognized it as a true likeness of ''Second vStory 
Bill," but to be certain of my man I took the photo to head- 
quarters and compared with the one on exhibition there. 
Then, being sure of what I was about, I started out on a 
hunt for him, and learned that he had assumed the name 
of La Grange, and had a date to meet some gal here this 
afternoon, and I am here ahead of time, prepared to nab him 
the minute he shows up. 

Reg. (aside). Poor Vera and poor Lillian! 

Hen. Now, the next question is, can I count on your 
assistance ? 

Reg. Under the circumstances you could hardly find a 
more willing assistant. 

Hen. Good! (Looking off, R.). Why, here comes a 
gal now. Is she your cousin ? 

Reg. (looking off, R.). Yes. She must have grown im- 
patient. 

Hen. Well, let's conceal ourselves. If she's here, he's 
sure to show up pretty soon. (They exit, L. 2 E.) 



34 THE FACE AT THE WINDOW. 

Enter Lil., R. 3 E. 
LiL. {appears to climb up and dozvn over the rocks, and 
Unaily comes around to R. 2 E. and thence to C.) I wonder 
wha,t could have happened? Either Reggy forgot all about 
coming here to deliver my message, or else Chester has been 
detained. (Looking off, R. 2 £.) Why, there comes Vera. 
I wonder what she can want here? It won't do to let her 
see me. After the lecture she gave me last night she'd be 
likely to tell Aunty the whole thing. {Exit, L. :^ E.) 

Enter Ver. and Din., R. 3 E. Ver. appears to climb over 
the same path as Lil. did at her entrance. Din. fol- 
lows her slowly. 

Din. Well, dis am de mos' foolishes t'ing I ever hearn 
tell of. {Slips.) Idea ob breakin' you' neck climbin' over 
rocks, when you got a good home ter stay in ! 

Ver. Hush, Dinah ; we'll soon be there. 

Din. {slipping again). Soon be somewhere, suah 'nuff. 
Ole debbil himse'f couldn't stand straight on dese heah 
rocks. 

Ver. {coming around C). I am positive I saw Lillian 
coming in this direction. I do hope I haven't missed her. I 
fear she has arranged a secret meeting with Chester, in 
spite of my warning. It is almost certain that Detective 
Swartwood has identified him as ''Second Story Bill," owing 
to my carelessness in letting him have that photo, and if he 
should happen to trap him at this place, in the presence of 
Lillian, it might involve her in a scandal from which she 
would be likely to never fully recover. 

Din. {comes around from R. 2 E., slips and sits down, 
C.) Well, dog-gone my buttons ! I'se done killed myse'f at 
las' ! Oh ! Oh ! Now, who's gwine ter take care ob poah 
missus? 

Ver. {helping Din. up). Come, Dinah, get up. You're 
all right yet. 

Din. {arising). Is I all heah? 

Ver. {laughing). Why, certainly! 

Din. No bones broken? {Feeling of her arms.) Suah 
I'se all heah? 



THE FACE AT THE WINDOW. 35 

Ver. There's absolutely nothing the matter with you, so 
come along, Dinah, before we lose track of Lillian. (Exit, 
R, I E.) 

Din. Ef I slip ag'in I know I die foah suah. (Exit after 
Ver.,R. I E.) 

Enter Lil., L. 3 E, 

LiL. Well, thank goodness, I missed her, although it 
does seem a pity to be compelled to dodge one's friends in 
this manner. I think Ell just take another peep at his let- 
ter. I may have mistaken the place. (Looking over let- 
ter.) He says he owes **a lot of money." Well, I can't 
really blame him for that, as he has already told me that 
he is dreadfully poor, and, anyway, it will help to settle 
all arguments about what to do with my^ money. It's posi- 
tively shameful the way people bother folks that happen to 
be a*little in debt! It's perfectly lovely of him to say that 
he is desirous of making me his confidant, and telling me all 
about his troubles. It proves that he has the most implicit 
trust in me, and wants me to have the same in him. He 
says he will be compelled to leave the country, as he can- 
not obtain justice here. Poor boy! I suppose he means to 
say he has the world against him, or something of that sort. 
I wonder if he'll ask me to go with him? 

Enter Ches., R. 2 E. 

Ches. Isn't my little one somewhat careless to come out 
here with such a light gown, without a wrap of some sort ? 
I'm afraid she hasn't the proper amount of fear of colds, 
and doctors, and things of that sort. (Places his rain coal 
over her shoulders and embraces her lightly and kisses her.) 

LiL. Oh, I'm so glad to see you ! I was afraid I had 
missed you. 

Ches. I was obliged to take a round-about way, in order 
to avoid some people I did not care to meet. 

LiL. Oh, yes, I know. It was those horrid old creditors. 

Ches. Yes. (Aside.) To say nothing of a few Cen- 
tral Office detectives, who were following me. 

LiL. Oh, how romantic ! Do you know, I feel quite like 
the leading lady of the drama, and Aunty and your creditors 



36 THE FACE AT THE WINDOW. 

and a whole lot of other people are the villains of the play. 
Oh, wouldn't Aunty lay down the law to me if she knew I 
came out here to meet you ! 

Ches. It was my only chance to see you. I could not 
bear to think of going away without one last meeting. 

LiL. IMust you really go away? 

Ches. My only chance for safety will be on the other 
side of the Atlantic. To-night I bid farewell to America 
forever ! 

LiL. Oh, pshaw ! But why must you go so soon ? 

Ches. It is imperative that I shall leave immediately. 
(Turning to her suddenly.) Shall I be compelled to go 
alone ? 

Plaint we music, pp. 

LiL. (afraid of herself). Don't! Don't ask me such 
questions as that. • 

Ches. Is your love for me strong enough to warrant 
your breaking the ties which bind you to this place, and to 
leave with me for another land and assist me in starting 
life all over again? 

LiL. If your debts were paid, what would be the neces- 
sity of leaving this country? Are there not greater oppor- 
tunities here than anywhere else? 

Ches. Quite true. But, "though the wound be cured, 
there yet remains the scar." No matter how hard we may 
try to retrieve our past errors, they yet remain as silent wit- 
nesses of the past, and cannot help but mar the future. Oft- 
times a constant reminder is more galling than the act it- 
self. 

LiL. Oh, of course, if you are bound to spend all your 
time worrying about what has happened in the past, there is 
very little hope for your future happiness. Can't you bury 
the past, and if necessary erect a suitable monument proper- 
ly inscribed to the memory thereof, and let it go at that ? 

Ches. Unfortunately, each act of our lives winds itself 
around our temporary associations like the vine around the 
tree, which when taken away leaves its impression marked 
plainly forever. The only possible chance of entirely free- 
ing one's self from all associations of the past and securing 



THE FACE AT THE WINDOW. Z1 

a new environment is to avoid all possible chance of any 
recollection thereof, establishing a new beginning in a land 
so remote as to preclude all chance of any recurrence of the 
thoughts that are past. 

LiL. You saved my life, which convinces me of your 
courage. Would it not be more in keeping with such a 
character to remain here with the determination of living 
down any mistakes of the past ? 

Ches. Alas ! I have tried in vain to do that. It is a use- 
less task. I have braved the possibility of prison walls for 
your sake. I feel confident that your influence would make 
a better man of me. If you really love me, you will not hesi- 
tate to do as I ask. 

LiL. But I could not leave without first asking Aunty's 
consent. 

Ches. Why is that necessary ? She is as unforgiving as 
the rest of the world, and would be certain to advise you 
against a union with a "man with a past." Do not delay! 
Why can you not answer for yourself — and now? 

LiL. No ! Do not ask me that ! I do care for you— 
very, very much ; but do not ask me to part from my home 
and friends in such a manner. They have all been good to 
me — I cannot leave them without a word of 

Ches. Then you do not care for me ! 

LiL. Yes, yes ! Very, very much ! More than any one 
else, but 

Ches. {putting his arm around her). Then come, before 
it is too late. We have not a moment to spare. 

LiL. {retreating from him). No, I cannot! 

Change music to hurry, pp. 

Ches. I have staked all for you! My very life is in 
constant dan;ger ! Do not delay ! Once on board the steam- 
er, we can defy the whole world! (Grasps Lil. by the 
waist. She struggles to free herself.) 

Enter Ver., R. i E. 

Ver. (to Ches.). Stop! You have crimes enough to 
answer for, without adding a new one to the list ! 



38 THE FACE AT THE WINDOW 

LiL. Stop him, Vera! He doesn't know what he is do- 
ing! 

Ver. Stop! Do you hear me? (Attempts to get be- 
tween Ches. and Lil.) 

Ches. Out of my way, woman! (Pushes Ver. aside.) 

Ver. I tell you, you shall not take her! (Grasps Lil. 
and finally disengages her front Chester's arms.) Come 
away from him, Lillian ! His very touch is venomous ! 

Lil. (amazed). Why, Vera, what is he to you? 

Ver. He — he is my husband! 

Ches. It is a lie ! 

Reg. (calls from off, L.). Vera! Vera! 

Ches. Aha! Young Spofford, eh? So he has betrayed 
me? 

Ver. (pointing off, R. i E.). Go! Quick! I will save 
you! 

Ches. (drawing revolver). You lie! It is a scheme you 
have patched up between you to get me out of the way! 
But if my future life is to be ruined, so shall yours ! 
(Shoots off L., as if at Reg.) 

Enter Hen., followed by Mo., L. 2 E. 

Hen. (revolver in hand). Hands up! You are my pris- 
oner! 

Ches. (shoots Hen., who falls, then grasps Lil., and 
backs up L.) 

Mo. (falling on his knees). Oh! Please! Marse Bill! 
Doan shoot ! Doan shoot ! 

Enter Mrs. S., R. 2 E., followed by Din., and a number 
of Villagers. 

Mrs. S. Lillian! Where is she? 

Ver. (pointing to Ches. and Lil.). There! 

Ches. (holding Lil. in left arm, threatens them zvith re- 
volver in right hand. Lil. screams). 

Mrs. S. Oh! Save her! Save her! 

Ches. If you value her life, let no one follow me! If 
anyone attempts it, she shall die with me ! (Starts to back 
off, L. 3 E.) 



THE FACE AT THE WINDOW 39 

Hen. (recovering, rises on one knee and points revolver 
at Ches.) Halt, or I'll shoot! 

Ches. (placing Lil. in front of him). Shoot if you dare! 

All. Coward ! 

Ches. Call me what you like ! I must protect myself ! 
Who shall stop me now? 

Reg. (enter L. 5 E.). I will! (Grabs Ches.'s right arm, 
thus keeping revolver pointed upward. Ches. releases Lil., 
zvho runs to Mrs. S. and falls in her arms. Szvell music to 
ff. Reg. and Ches. struggle. Mo. runs up stage, takes re- 
volver from Ches. and shoots him. Ches. screams and 
falls dead.) 

All (yell). Hurrah! Saved! Hurrah! 

T)i^. (dozvn R.). Moses Johnson ! You come right hyar 
dis berry minute! (Mo. puts revolver in pocket and sheep- 
ily goes to Din., zvho grabs him by the arm.) You all jes' 
wait till I git you home, I's gwine ter fry you de bigges* po'k 
chop what I kin find! (Looks at him admiringly.) 

Reg. (goes to Ver. and embraces her). Vera, you are 
free at last! Will you have me now? 

Ver. (falls back in his arms, smiling at him). Yes! 

All. Hurrah ! Hurrah ! 

Change music to lively march at curtain. 
Quick Curtain. 



IHBS rVHAJEST^V" IVIIlR, A. 




Comedy in 3 acts, by Hermann T. Decker; 9 
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IHEINIE Am FlRBTZ m IHOILILYWOOID) 






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i^^Ei iii^*j Ona 



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, A.0>0)II_IF>II-1I ? 

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